Fancyarcher
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Posts posted by Fancyarcher
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7 minutes ago, Disco Stu said:
If his "main" theme is that melody that starts at 0:28 in the video...it doesn't sound super promising. But yes, I will reserve judgment until I hear it in context.
It sounds a bit generically "heroic" so to say, but again hard to judge unless I've heard the entire theme. Mind you the rest of the score might be a bit different.
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Wonder Woman - 8 / 10 - it kicked some real ass. Aside from a typical CBM epic dark climax, there was a lot to like about it, the action sequences were great and Pine and Gadot had some really great chemistry too. Thumbs up to DC and WB for doing something right for a change!
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2 hours ago, Disco Stu said:
Speaking my language! They're both in my top 10 Spielberg films ever!
Lincoln is great. For a 2 hour + plus film with a lot of talking I find it extremely fascinating and great to watch. Terrific performances and direction all-around.
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2 hours ago, Disco Stu said:
Brother!Preach man! I really liked Lincoln and Bridge of Spies most among the films he's done in the past decade. Really looking forward to all these films he doing. They especially sound like they have a lot of potential.
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Fantastic Beasts (rewatch) - 7 / 10
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18 hours ago, crocodile said:
I've heard a worrying rumours that DC might integrate the Watchmen universe into the main DC world...which, of course, makes no sense whatsoever. Creatively, that is.
Karol
DC has been milking Watchmen for years now. Wouldn't surprising me one bit if we start seeing Dr. Manhattan showing up regularly in the main Superman book soon. Can't say I'm a fan of the potentially idea at all.
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Who Is Killing The Great Chefs of Europe - Henry Mancini - Fun stuff, very European, surprisingly no jazz either, it's very restrained and dramatic at point as well, and not overly cartoonish either. The perfect comedy score basically. I must have listened to the track The Movable Feast at least 20 times now.
1 hour ago, Incanus said:I think he has said that a few times now yet he just keep cranking them out.
Master of the Universe by Bill Conti: Quite good stuff Bill, uncomplicated and tuneful, very cartoonish with broad, big colours and gestures.
I know people consider the score to be a Williams clone and it basically is, but I can't stop listening to the hell out of it. It's so good, and full of themes! One of Conti's absolute best.
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Cameraperson - 8.5 / 10
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Saw a bunch of films at the white river festival today.
Anyway...
Girl Flu - 7.5 / 10
To Keep The Light - 8 / 10
It's Criminal - 7.5 / 10
Wild (2016) - 7.5 / 10 -
The Hanji Box - 7 / 10American Honey - 8.5 / 10
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9 minutes ago, Richard said:
Dave Grusin has always been criminally underrated. Do you like his solo stuff, especially his recordings for GRP?
ONE OF A KIND is fantastic.
He does have an Oscar at least, so it's not like the industry hates him or anything. He's also scored a lot of a hit films. He's sadly neglected these days. I think it's because people see him as a lounge jazz kind of guy where there's more to him then that.
Yeah I've listened to some of his solo records too. Good stuff, especially Migration. Dig those synths!My favorite Grusin scores are On Golden Pond, The Goonies, Mulholland Falls, Heaven Can Wait, The Champ, Three Days of The Condor, Havana, and so on. His collaborations with Sydney Pollack produced some great work.
One score of his I'd love to see a release of (even though the tapes are lost), that I listened to some exerts some of taken from the DVD is, Murder By Death. Like The Goonies it sounds like its a bit more of an orchestral affair as opposed to be "jazzy", and based off what I've listened to as well, a lot of fun. Again shame the tapes are lost though. Great composer though.
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Salt of The Earth - 7.5 / 10
Border Incident - 7 / 10 -
The Champ - Dave Grusin - Good stuff. Sentimental themes mixed in with 70's funk, but it works.
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54 minutes ago, I Need About Tree Fiddy said:
Who the fuck is Jack Posobiec?
A writer for The Rebel. Basically he's a random noob.
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2 minutes ago, Stefancos said:
Isnt Zanelli nothing more than just another RCP stooge? Why are people surprised that he used the themes of his Overlord?
Eh, some of Zimmer's proteges have gone on and to try and do their own thing to varying degrees of success. Zanelli only recently seems to have broken from Zimmer, so I'm not surprised he so faithful to themes of the recent POTC film.
Or perhaps we should rage against the Zimmering of the light, if people would prefer that.
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Just now, BloodBoal said:
Well, Zannelli did write new themes. They're just not particularly interesting.
His "new themes" (I swear there was like only two), just feel RC leftovers if you ask me, so yeah not exactly the most "engaging" of material.
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It's kinda like a balancing act you might say.
I'm sure Zanelli wanted to write his own themes, but he's loyal enough to Zimmer and Disney, that he just decided to use the pre-existing themes. Frustrating to say the least.
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4 minutes ago, BloodBoal said:
Still, this protege had previously written fun music for the franchise (some of the best, I'd even say). But for some reason, when he was given the opportunity to be in the forefront, he didn't deliver the goods. A shame, really.
I just think he was following studio demands to retread the themes, for better or mostly worse.
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The Big Brawl - Lalo Schifrin. Fun stuff. It's basically a follow-up to Enter The Dragon, similar to how Brubaker is kinda like Cool Hand Luke 2.0.
The user who uploaded the Japanese only release on youtube deserves a cookie. Now if it only would get a proper re-release. The sound sucks!
19 hours ago, Matt C said:Pirates of the Caribbean: Dead Men Tell No Tales - Geoff Zanelli
It doesn't reset the bar, musically, for the series. It sounds pretty consistent -- brainless entertainment but nothing else. Zanelli incorporates Zimmer's themes liberally throughout -- the main theme, Jack's, and both versions of Will/Elizabeth's love theme. It's less of a phoned in effort than "On Stranger Tides", but Zanelli doesn't develop a voice of his own. If you didn't read the credits, it sounds like Zimmer wrote it.
I listened to parts of the latest POTC score two days ago. It sounded very forgettable. It just basically feels like a Zimmer clone score, composed by someone who was obviously a protege / ghost-writer of his.
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Glad to see that Wonder Woman is well-received. The DCU might be on the right-track.
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16 minutes ago, TheGreyPilgrim said:
Why is the electric cello inappropriate?
Maybe not inappropriate, I just don't think it fits the character very-well. I'd prefer Wonder Woman's theme to be more mythological and epic sounding honestly, not some Zimmer style trailer cello music, as fun as it may be. Though that's just me personally, of course.
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Listened to the Wonder Woman score. Some fine moments, but for me it's just more RC-style music with loud noises, repeating percussion loops, and a lot of ear bursting action music.
Wonder Woman's theme doesn't even seem to get an orchestral version disappointingly enough, and they still use that very inappropriate electric cello.
Meh!
Michael Giacchino's SPIDER-MAN: HOMECOMING (2017)
in General Discussion
Posted
I'd rather he not. Using that theme once or twice is fine, but relying on it too much isn't such a great thing. Giacchino should do his own thing for the most part.